How Hollywood Trailblazer Felicia D. Henderson Successfully Inked A Multiyear Studio Deal

Felicia D. Henderson, Hollywood producer and writer, is a trailblazer when it comes to creating and developing shows that place emphasis on underserved storylines. Her grit, determination and empathy are portrayed through her characters. Her portfolio of shows includes Netflix's Marvel drama The Punisher, Showtime’s longest-running African-American-themed drama series Soul Food, BET's The Quad, Fringe, Gossip Girl, The Fresh Prince of Bel Air, Family Matters, Moesha and Sister, Sister. Now, at 20th Century Fox with a multi-year, multi-million-dollar contract, Henderson is able to develop more family dramas, comedies and adapt graphic novels.

“I’m coming off two seasons of Marvel’s The Punisher,” she explains about her deal with 20th Century Fox, “which was an amazing experience; very different from my Fringe experience of trying to get back into comic books and action...Suddenly, here comes an opportunity for the overall deal at 20th Century Fox, and they know I’m interested in comedy and drama; I’m interested in directing wonderful network shows and cable shows. They said ‘yes, come do all of that.’” Under her current contract, she has already joined Fox’s Empire as a consulting producer and is currently developing a one-hour drama adaptation of Terry Schott's nine-book sci-fi series called The Game. The adaptation is an epic love story with elements reminiscent of The Matrix and The Hunger Games.  

Henderson didn’t intentionally set out to work in the entertainment industry. Her career began in finance. Her boss expressed to her that if she really wanted to stay in the industry she’d need to complete a master’s in business administration. “I came across a fellowship application,” she states, “that was a fellowship between NBC and the Peabody Foundation that basically was to fund your education in business if you were interested in management and television. It was the time in the 90’s when networks were pursuing MBA’s quite heavily.” Although she had no interest in television, she forged forward with the application because she wanted the full scholarship. After receiving the fellowship, she had the opportunity to be a part of the management training program at NBC working as a broadcast associate. “It was my first ever exposure to scripts, behind-the-scenes of television and how a network works,” she smiles. “Eventually I got placed in the current programs department which basically oversees and manages all their programs on primetime.”

Her then supervisor asked, “have you ever thought of becoming a writer?” That question completely changed the trajectory of her career. She applied for and was accepted into the Warner Bros. writers workshop, which is a highly acclaimed premiere writing program for new writers looking to start and further their careers. During the program, she was placed as an apprentice on Family Matters and has been working in the industry ever since.

After eight years of writing half-hour sitcoms, she decided to go back to school to get an MFA in screenwriting. “The screenplay I wrote in the program,” she states matter-of-factly, “won the screenplay award, which brought me the attention from the drama executives at Paramount.” She initially went to school to see what other types of writing she could do. She finished the program as a drama writer.

Over the second half of her career, Henderson focused mainly on dramas. Although during this time she was known for Gossip Girls, which was a character-driven drama, she wanted to pursue projects that aligned with her personal interests in sci-fi. “I said to my then agent, ‘if I can’t get a job within that, I would sit out the year,’” Henderson explains. “There was always that fear of ‘what if they forget me?’ It was a scary decision to say that I just won’t work.”

The woman who was head of drama at Paramount when she started her career became head of J.J. Abrams television division at Bad Robot; they had worked together for years on Soul Food. After a couple of discussions, Henderson was asked to join Fringe. This was the pivot she had been looking for within her career. “It was maybe the most challenging job I ever had in my career,” explains Henderson. “For a moment you say ‘maybe I can’t write this.’” Ultimately, it was the first time in her career that a production didn’t pick up her option on her contract.

“What really helped me through this challenging time was I was able to distinguish that this is what I do, it's not who I am," she says. "I always knew I’d get back on my feet.” During this same timeframe, she decided to go back to school for her Ph.D.

Henderson fully embraces each pivot by focusing on these essential steps:

• No matter what your career is, we are all creating a story, a narrative, whether we know it or not. The facts of your life are not necessarily the story of your life. Every day we have a chance to write or rewrite our narrative.
• Sometimes you just have to turn around and burn the bridge; it forces you to look forward.
• Be decent to all the people you meet. Work on developing relationships rather than owing people favors.

“The secret to my success,” Henderson concludes, “is that I work really, really hard and try to be kind to everyone I meet. It always helps to have a sense of humor about yourself; find what is funny in this moment.”